Akin Adebowale and Ousman Sahko Sow are co-founders of the Black content creation agency Black Tag. Focusing on alternative Black artists and art, the Black tag brand, style, and approach are steps into the “future of Black content,” as Akin describes it. Black Tag is democratizing content in a way that empowers its viewers, with the help of partners like Issa Rae and Common. This film speaks to various generations disconnected from popular culture.
In their debut, Akin and Ousman have collaborated as business partners on “Black Art Is Black Money,” a film that describes the appropriations of the attributes and elements of Black culture, while suppressing the leaders and representatives of that culture.
Behind the scenes; Actors onset of “Black Art Is Black Money” by Black Tag.
Black Tag
In detail, and as fast as any TikTok sequence, “Black Art Is Black Money” highlights notable appropriations throughout time. The film opens up with a rant from Little Richard about stolen identity on stage at a televised award show. Instances of theft of Black culture, from food and fashion to art and science, and even dance and music, are the narrative of this story. Written by Akin and directed by Ousman, this film opens our eyes to what has been evident for too long.
Akin’s background extends into computer science and fine art in college and working with African fashion start-up Oxosi, in which he met Ousman at Google Creative Labs. Ousman, who has produced video content for brands like Adidas and Nike, was teaching content creation for Google at the time.
Ousman Sahko and Akin Adebowale Sow are co-founders of the Black content creation agency Black Tag.
Black Tag
Akin and Ousman are both born in West Africa and their families have found their way to the United States. Ousman, from Sierra Leone, escaped the atrocities of the “blood diamonds” war, and Akin from Nigeria, noticed the global appropriation of Black culture as he started to absorb an American worldview. This film reflects the sentiment of what Ousman defines as an “academic understanding of what Black is. Not just from the standpoint of the U.S.A., but Africa and Europe. Introducing artifacts – introducing information – [and] getting folks to lean in and learn.”
Black Tag and “Black Art Is Black Money” are delivered from an “academic standpoint. Outside of creating content, it is also teaching us, and [we’re] learning through that process as well,” Ousman states. “Education is the key driver. This is our opinion and here is where we stand – to educate,” Akin affirms.
What Akin and Ousman have done is cataloged Black culture. The creators list the various instances of appropriations and the atrocities that have happened to Black artists, Black money, and the Black influence on pop-culture. “Black Art Is Black money” empowers young Black artists in hopes they “realize [their] power” and keep the issue from getting “[shoved] under the rug,” Akin notes.
A scene from “Black Art Is Black Money” by Black Tag.
Black Tag
An example of this on full display as the film opens with that award show where rock n’ roll star Little Richard is on stage standing beside a younger white man, with an arguably similar hairstyle to Little Richard wore during the 40s and 50s. Richard relentlessly berates the man in an unapologetic display of disdain. In dedication, Little Richard is an example of that appropriation and how it is hardly accredited where due, according to the two filmmakers.
That opening scene in “Black Art Is Black Money” sets the tone for a film that juxtaposes the origin of some of the most memorable pop-culture moments that have taken place in mainstream commercial markets with the original version or rendition. A group of friends narrate and catalog the instances of Black cultural appropriations that came without any reparations.
They cycle through the art and references that modern artists have used to create against the examples of Black art. Visual references of those Black art forms grace the screen periodically including works from artists like Picasso.
A scene from “Black Art Is Black Money” by Black Tag.
Black Tag.
The film stars notable cultural icons Jalaiah Harmon, Sage Elsesser, Parker Kit Hill, Gabrielle Richardson, Eloisa Santos, and Miski, and exemplifies that “Black culture has been the catalyst for global trends,” says a press statement. Continuing, “However, the economic gains from these ideas, works, and trends were felt by already affluent, predominantly white men.”
Ousman says that this film is “letting it be known that we are the creators in this space.” Akin finds that brands have the most to do in finding a remedy to cultural appropriation. As part of the reconciliation, these brands are also held accountable for their diversity and representation. Inclusiveness within their work environment and at the decision-making level is a must with content producers.
Black Tag exists in creating content without conflict, and that understands the narrative of Black artists everywhere. The film launches on February 9, 2021. Watch the short film here.
LONDON (AP) — With a few daubs of a paintbrush, the Brontë sisters have got their dots back.
More than eight decades after it was installed, a memorial to the three 19th-century sibling novelists in London’s Westminster Abbey was amended Thursday to restore the diaereses – the two dots over the e in their surname.
The dots — which indicate that the name is pronounced “brontay” rather than “bront” — were omitted when the stone tablet commemorating Charlotte, Emily and Anne was erected in the abbey’s Poets’ Corner in October 1939, just after the outbreak of World War II.
They were restored after Brontë historian Sharon Wright, editor of the Brontë Society Gazette, raised the issue with Dean of Westminster David Hoyle. The abbey asked its stonemason to tap in the dots and its conservator to paint them.
“There’s no paper record for anyone complaining about this or mentioning this, so I just wanted to put it right, really,” Wright said. “These three Yorkshire women deserve their place here, but they also deserve to have their name spelled correctly.”
It’s believed the writers’ Irish father Patrick changed the spelling of his surname from Brunty or Prunty when he went to university in England.
Raised on the wild Yorkshire moors, all three sisters died before they were 40, leaving enduring novels including Charlotte’s “Jane Eyre,” Emily’s “Wuthering Heights” and Anne’s “The Tenant of Wildfell Hall.”
Rebecca Yorke, director of the Brontë Society, welcomed the restoration.
“As the Brontës and their work are loved and respected all over the world, it’s entirely appropriate that their name is spelled correctly on their memorial,” she said.
